mianki.Gallery
artKarlsruhe
22. bis 25. Februar 2018
Internationale Messe für Klassische Moderne und Gegenwartskunst

Detlef HALFA

Katharina Schnitzler

Tina Heuter

Jakob Kupfer

Michael Schuster

mianki.Gallery

Claudia Kallscheuer

HAL_2

Ohne Titel #251, roller painting, 1998

Baumwollstoff (Fehlfarben) ungrundiert über Keilrahmen, Acryl-Dispersionsfarbe

280 x 200 x 5 cm

HALFA

Detlef HALFA

HAL_3
HAL_4

Szenogramm, 1979 - 2002

Zeichnung, Malerei, Collage auf Fotokopie eines Zahlenplans

21 x 21 cm

Szenogramm, 1979 - 2002

Zeichnung, Malerei, Collage auf Fotokopie eines Zahlenplans

21 x 21 cm

Szenogramm, 1979 - 2002

Zeichnung, Malerei, Collage auf Fotokopie eines Zahlenplans

21 x 21 cm

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HALFA follows no style – he follows an attitude.


Surfaces were rolled by hand with a self-cut roll. Paint brush or a brush were taboo. Moiré fabrics were used as the painting surface. Number squares were calculated and with acribic transferred to felt, fabric or canvas. And the photocopy of a number plan was decorated with drawing, painting and collage. Whereby all available artistic painting techniques were used.


The work by HALFA embodies eight creative phases that partially overlap, but also develop from the previous. These phases include amongst others the roller and moiré paintings, the scenogram, sceno mades and camera works. He invested his entire energy that allowed him to storm from idea to idea to create a complex work that took new paths in reference to conceptual art. The basis was a critical relation to the own work. This became apparent in the extensive text archive that always accompanied the artistic work.


“My work deals in pictures, objects, room installations etc. with the styles, dogma and isms of 20th century art, in which at the same time it desavours, destroys and redefines.”(HALFA) This line of tradition was however continuously breached, conquered or continued in an own sense.


“An inclination to emotional content in pictures was never my thing, more a critical distance to traditional/work definitions.“ In over 30 years, Halfa created his form method „Manufactura Scenografia“. A highly vivacious piece that applies to be discovered.

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Denker, 2017

Bronze, 170 cm

Edition 9

behind me and myself, 2016

Bronze, 2-teilig, 80 cm

Edition 9

_R5A6679

No Exit, 2017

Beton, Neonschrift, 80 cm (135 cm)

2-teilig, Edition 9


_R5A6681

No Exit, 2017

Beton, Neonschrift, 80 cm (135 cm)

2-teilig, Edition 9


Grace, 2017

Bronze, 170 cm

Edition 9


_R5A6688
_R5A6671

Mädchen in Jeans, 2015

Beton, 80 cm

Edition 9

Tina Heuter

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Just let yourself go, dare to dream, or engage in some reflection, deep in thought, or how about proudly strolling along? Why should a businesswoman go for a walk with a calf or a casual looking guy with a bunny? Despite such contradictions, the latest works by Tina Heuter are implicit yet at the same time offer the observer an exciting scope of interpretation.


The artist concentrates on moods, expressions and situations, yet without getting lost in detail. These sentiments are by no means in your face, however, or even striking. Due to the rough surface, which denotes a skilful combination of facial expressions, gestures and posture, Tina Heuter succeeds in telling stories through her sculptures.


These moods are something that Tina Heuter plays on skilfully in the second step of creation, by using what are „more contemporary“ materials such as concrete, steel or paper. We can track what happens with one and the same sculpture, as changing patterns of perception and effect begin to manifest. This is the secret behind Heuter‘s success in lending her works an unusual contemporary touch. Even the classic bronze sculpture, when coming from her hands, seems contemporary and modern once more.


This game, based on an interplay of materials, is something she consistently continues to play, juxtaposes her work and then she hangs the whole thing up on the wall. This creates a unique, new type of sculpture. Tina Heuter has come to show us that the issue of sculptural figures is an infinite one. In doing so, she draws us into an exciting interaction with her works, the materials, the room, with us, with... and this makes us curious about all the things she will incorporate into her classical sculpture in the future.


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Heiter bis glücklich_bitte melde Dich 1, 2014-2015

Baumwolle, Stickerei, Nähfaden

84x 74 cm

Was mein Leben reicher macht 1, 2013

Acryl, Lack, Nähgarne, Stickerei auf Holz

20 x 20 cm

Claudia Kallscheuer

HEITER BIS GLÜCKLICH

– schwarze tränen, 2011

Nessel, Stickerei, Faden

40 x 50 cm

Claudia Kallscheuer

Im August flitzen Perseidenschauer über den Nachthimmel....., 2014

Seidenorganza, Binder, Nähgarne

23,5x 23cm

Claudia Kallscheuer

Frühlingserwachen 4.4.2014......., 2014

Seidenorganza, Binder, Nähgarne, Stickerei

24x 24 cm

Claudia Kallscheuer

WETTERBERICHT, 2012

Stickerei auf Nessel, Nähseide

170x110 cm


Claudia Kallscheuer

Claudia Kallscheuer

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Claudia Kallscheuer has an unusual way of expressing art - writing and drawing using the sewing machine, embroidery and sewing and sometimes just leaving threads hanging. Highlighting little things as valuable, things we mostly no longer appreciate. Claudia Kallscheuer transports the seemingly inconsequential, processual, repetitive, linked with calculated chaotic thread.


The works obtain strong relevance through the implementation of embroidery. It is only through the written thread messages that special substantive weight is given to the yarn. Threads do not always have to be sewn; just letting them hang, extends the lines. These very lines alter again and again her created works. And order, which is needed from time to time, is just as much a part of it ...


What is also exceptional is that she is less concerned with the top of the embroidered material than the underneath side. In doing so, she turns it inside out. She plays with interior and exterior, reverses left and right, creates disorder within order. Faults are incorporated, the thread tension varies, overlapping and entanglements in the sewing process are tolerated. Knots are made, where no knots fit.


Claudia Kallscheuer opens and sensitises the observer to the enigmatic nature of everyday life. The motifs and themes of our lives lead her to subtle and complex means of artistic reflection.


Kallscheuer also constructs boxes with found, uplifted, donated, used or forgotten objects. Each box is a desired dream, a plight, a longing, a search.


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051
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Jakob Kupfer

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Jakob Kupfer

Lichtbild # 881, 2014

Pigmentdruck, Wachs auf Papier, Aludibond 102 x 100 cm

FADE 052, 2016 (Standbild)

Filmdatei, LCD-Bildschirm,

MiniPC, Rahmen

51 x 51 cm

FADE 051, 2016 (Standbild)

Filmdatei, LCD-Bildschirm,

MiniPC, Rahmen

51 x 51 cm

FADE 056, 2016 (Standbild)

Filmdatei, LCD-Bildschirm,

MiniPC, Rahmen

51 x 51 cm

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He is a photo painter in the best, traditional sense: in his photo paintings Jakob Kupfer creates compact works of art out of diffuse colour and light reflections. Kupfer does not merely depict things; rather, he lets the light itself live out its creative streak.


These photo paintings, as snapshots of the ever-changing light flux, render visible fantasy worlds painted from light. Kupfer sees these works – although created in a photographic manner – as paintings; unique works of pigment and wax on paper.


With the FADES, Jakob Kupfer – an individual as vague as his own artwork – goes one step further into questioning our vision. The digital originals transcend the frozen moments of the photo paintings into another, parallel time. Kupfer’s FADES are constantly transforming yet so subtly, that they remove any safe ground of vision: The one clear and constant work, being the classic motion picture. The FADES trickle through our view like sand between our fingers. They are as surprising as they are amazing. These are images, whose transformation you are determined to uncover. Yet they celebrate this change with such pleasure that it is impossible to capture it. Kupfer considers his FADES, although created digitally, as being individual paintings; as being digital originals.


Kupfer’s images demand an active kind of vision on our part, which we thought we had long since forgotten, and looking at anything in the manner that Kupfer demands of us imperiously calls for a privilege that we otherwise only rarely afford ourselves. To look so says little about what is depicted, but much of the beholder. You are almost tempted to talk of therapeutic viewing, comparing the photographs with Rorschach tables – if someone aside from the viewer were to care to interpret the results, he could test performance in whatsoever manner. Yet nothing like this is actually the case. The landscapes of light offer themselves as unique vehicles of joy, fantasy and sensuality. They demand nothing, but open the gateway to the very echo of existential experience: security, love, sadness, longing, desires, and yes, even fears all come alive in these photographs – like everywhere else, whenever we dare to venture into new territory.


„Whatever we are unable to detect is something that we are allowed to conceive anew. Wherever we no longer have to understand is the point where freedom of imagination starts.“ (Jakob Kupfer)

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Katharina Schnitzler

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Frau als Törtchen „Punk“, 2017

Zeichnung auf Papier

70 x 90 cm


17_Z_katS_Frau-als-Törtchen-Schlampe_60x90
17_escape-vehicle#1795_150x100_KatS

escape vehicle # 1795, 2017

Mischtechnik auf Leinwand

150 x 100cm


17_escape-vehicle#1788_150x110_KatS

escape vehicle # 1788, 2017

Mischtechnik auf Leinwand

150 x 110cm


17_escape-vehicle#1792_150x110KatS

escape vehicle # 1792, 2017

Mischtechnik auf Leinwand

150 x 110cm


Katharina Schnitzler confronts us with perception and our accepted realities. She creates worlds of images which subjectively meet people’s needs for solutions. In her work she layers countless textures, coats of paint, drawings and words. Paintings and drawings emerge – installed, poetic, deep, witty and closely interwoven, and therefore both brutal and beautiful!


Katharina Schnitzler is a master of mixed media: there is often a background of countless layers. Since the brushstroke is visible and has been drawn in different directions, structures and patterns emerge as a result. Schnitzler in doing so emphasises the materiality of the work, because the structures are reminiscent of cut-outs of panels or embossed ornamental wallpaper. So she often succeeds in creating a sensation of space.


Delicate drawings that extend all the way into the abstract are in the foreground at times, or there are geometric shapes, which were created using a lot of paint. Yet, we also encounter graceful plants or ornamental decorations, which supplement the composition and are reminiscent of Chinese paintings.


The presentation of the „In between“ is her artistic claim. Although the background and the foreground could each stand on its own, they communicate and blend in together.


„I want my paintings to be complex, so that when looking at them, the viewer does not drain them, until there is nothing left to discover. Rather, I want his subjective perception of the painting to keep changing, over and over. The rich diversity of all being includes moments where everything seems possible, „says Katharina Schnitzler about her artistic objectives.


Katharina Schnitzler's works exude a subtle timelessness and deal with human existential themes such as love and happiness, beauty and joy, grief and wars.


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Lichtbild 2014/23, 2016

Laub auf Papier

29,7 x 42 cm


Lichtbild 2014/20, 2016

Laub auf Papier

42 x 59,4 cm


Schönes Licht I, 2016

Laub auf Papier

86 x 122 cm


Lichtbild 1968/II, 2016

Laub auf Papier

150 x 210 cm


Michael Schuster

Schuster exhibits works on paper, small sculptures and wall installations made from fragile dried, pressed leaves. He cuts these out and applies them to paper or positions them in the room. Photographs, mostly snapshots originating from his private family album, serve as samples and his starting point.


The works of Michael Schuster address the conservation and retention of memories. The photographic image is at the heart of this. Photography, as a pictorial realisation of a point in the past, suggests reality and presence to the viewer. Reality because the image is perceived as a natural likeness, and presence because photography invokes a point in the past and in doing so brings it back to life.


Pictorial reduction processes of the samples and the use of leaves to suggest the past release the photographs from their original context. Typical features such as greyscale, tonal separation, perspective and area disappear. The people making the image free themselves from their previous environment and reconnect with the structure and form of the leaf. The disappearance of photography will also result in the disappearance of subjectivity and intimacy. From a fleeting moment in the past comes an image: universal, independent and new – freed from the attempt to fabricate the present and reality.

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Since 2008 mianki.Gallery works with a new generation of artists. The gallery acquires its standalone profile through artistic positions focussing on the use of unusual materials. Its artists form special imageries by using and working with remarkable and unique materials.


mianki.Gallery is a member of the Galleries Association of Berlin (LVBG). Member galleries are notable for their trading professionalism in line with the guidelines of the Federation of European Art Galleries Association. This includes making the art of the 20th and 21st centuries accessible in perpetuity, and the promotion of currently-active artists.


mianki.Gallery currently represents the following artists:


Silke Katharina Hahn

HALFA

Tina Heuter

Claudia Kallscheuer

Jakob Kupfer

Christophe Laudamiel

Anna Matola

Ev Pommer

Katharina Schnitzler

Michael Schuster

Constanze Vogt


10 years mianki.Gallery

2018 mianki.Gallery will celebrate its 10th anniversary. On this occasion all currently represented artists will be shown in a special extended program of exhibitions and events running from Mai until October 2018.


We would be glad to have you with us. Register now for the mianki.Newsletter to get all upcoming invitations and program details. Register now to mianki.Gallery Newsletter

mianki.Gallery

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mianki.Gallery

Kalckreuthstraße 15

10777 Berlin

T +49 30 364 327 08

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